For the expansion of the gaze to include dimensions of consciousness, Maya Deren has focused on the creative manipulation of time and space by means of camera work and montage.
For the expansion of the view by dimensions of consciousness, Maya Deren has focused on the creative manipulation of time and space by means of camera work and montage. She has described filmmaking as the "creative use of reality." Her filmAt Land(1944), through the act of encoding and decoding contexts of meaning, releases people trapped in worldviews again and again. InDe Vita Händerna(1950), the Swedish experimental filmmaker Rut Hilarp's interpretation of the legend of Tristan and Isolde, she seeks to grasp the dramatic material through sensual processes that run counter to the narrative norm based on causallogical connections. InRitual in Transfigured Time(1956) Maya Deren conceives of ritual as an "exercise in form" and establishes art as a force derived from and metamorphic to ritual. Running counter to gravity and architectural functionality are the filmed bridges inBridges Go Round(1958) by New York filmmaker Shirley Clark. Her filmA Scary Time(1960), originally commissioned by the children's charity UNICEF, shares Fahlström's polemic and radical critique of the global economic power relations.Monangambeeelated to an exclamation used by activists: inside the anti-colonial liberation struggle in Angola to call village meetings, and a short film about humiliation, solidarity and resistance by Sarah Maldoror, shot in 1969 from a Global South perspective.
USA 1944, 14 min. bw. 16 mm. Without dialogue
Director: Maya Deren
De Vita Händerna
Sweden 1950, 13 min. bw. DCP. Without dialogue
Director: Rut Hillarp
Ritual in Transfigured Time
USA 1946, 14 min. bw. 16 mm. Without dialogue
Director: Maya Deren
USA 1958, 8 min. color. 16 mm. Without dialogue
Directed by Shirley Clarke
A Scary Time
USA 1960, 15 min. bw. Digital HD. E
Directed by Shirley Clarke, Robert Hughes
Algeria 1969, 15 min. bw. Digital HD. OV/d
Director: Sarah Maldoror
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